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Rare soul from Sam Dees – Shelby Singleton productions for SSS International – starting with a nice, rumbling bassline and piano before Sam's achingly soulful voice kicks in the with the horns – with a raspy style that's completely sublime. Killer! The flip has an alternate version & chorus.

The only full album ever recorded by the legendary Sam Dees – an artist who's probably best known for his songwriting skills on other records, but who really shines here as a lead star on his own! Dees' approach is wonderful – a bit rootsy, with some slight southern soul elements – but also righteous and progressive, with a bit of a Curtom vibe in the mix – a perfect blend for Dees' upfront presentation of the lyrics, and the powerful message in his music! And the lyrics are sublime – really thoughtful words that go way past any standard cliches – mixing the personal and politics in ways that few other records did this well – a quality that's made this one a lasting treasure for years. Titles include "Child of the Streets", "Claim Jumpin", "Troubled Child", "So Tied Up", and "Good Guys".

The only full album ever recorded by the legendary Sam Dees – an artist who's probably best known for his songwriting skills on other records, but who really shines here as a lead star on his own! Dees' approach is wonderful – a bit rootsy, with some slight southern soul elements – but also righteous and progressive, with a bit of a Curtom vibe in the mix – a perfect blend for Dees' upfront presentation of the lyrics, and the powerful message in his music! And the lyrics are sublime – really thoughtful words that go way past any standard cliches – mixing the personal and politics in ways that few other records did this well – a quality that's made this one a lasting treasure for years. Titles include "Child of the Streets", "Claim Jumpin", "Troubled Child", "So Tied Up", and "Good Guys". CD features 6 bonus singles too – including "I'm So Very Glad", "Signed Miss Heroin", "Fragile Handle With Care", "Save The Love At Any Cost", "Child Of The Streets (single)", and "So Tied Up (single)".

The only full album ever recorded by the legendary Sam Dees – an artist who's probably best known for his songwriting skills on other records, but who really shines here as a lead star on his own! Dees' approach is wonderful – a bit rootsy, with some slight southern soul elements – but also righteous and progressive, with a bit of a Curtom vibe in the mix – a perfect blend for Dees' upfront presentation of the lyrics, and the powerful message in his music! And the lyrics are sublime – really thoughtful words that go way past any standard cliches – mixing the personal and politics in ways that few other records did this well – a quality that's made this one a lasting treasure for years. Titles include "Child of the Streets", "Claim Jumpin", "Troubled Child", "So Tied Up", and "Good Guys".

A mid 80s classic from Atlantic Starr – at the height of their catchy commercial fame – bouncing along with rhythms that crossover nicely to the mainstream, yet still keep a bit of their previous funky edge intact! The groove here is almost in the style that Atlantic Starr inspired in so many other younger groups in the earlier part of the 80s – although it's also a bit more polished too. Most instrumentation is electric, and tunes are mostly written by the team of David and Wayne Lewis – both of whom sing on the record. Barbara Weathers also handles female vocals, and titles include "Once Lover At A Time", "Let The Sun In", "My Mistake", "I'm In Love", "Always", "Don't Take Me For Granted", and a version of Sam Dees' "All In The Name Of Love".

A massive 2-fer from The Chi-Lites – 2 amazing post-Brunswick records on a single CD! Happy Being Lonely is beautiful beautiful work from The Chi-Lites – and a record that we might even say tops the best of their late Brunswick book! Despite the move from that label to Mercury, the group have a sound here that's still wonderfully fragile and harmony-focused – especially on the mellower cuts, which crackle with a sense of humanity that so many other harmony groups were losing at the time. But even the more upbeat tunes are great too – rolling along on some spacious arrangements by Tom Tom Washington, and showing that Chicago could come up with grooves to rival the sound of Philly! Titles include the great ballad "Love Can Be Hazardous", the Sam Dees number "Vanishing Love", and the titles "Don't Blame The World", "Message To The World", "Let Your Love Fall Like Rain", and "I Turn Away". The other album on the set is great too – and Fantastic Chi-Lites is right, because the group's still going strong even after their hit years on Brunswick – stepping forth with a sweet harmony sound that nicely fits the Philly arrangements they get on this set! There's a maturity here that gets past the fragile soul of earlier sets, and which has the group moving into a warmly adult mode that's a perfect shift from their more familiar hits. Includes the classic club groover "My First Mistake" – a stunning track that recalls the best work of groups like Blue Magic or Double Exposure – and other tracks include "I've Got Love On My Mind", "If I Had A Girl", "Who's In Love With Me", "Let's Touch", and "Love At Its Best".

A stellar solo set from John Edwards – one of the tightest talents of the southern scene in the mid 70s, and a singer who would later break big with The Spinners! This album's got a really unique vibe – with some slight tropical touches hinted at by the cover image – and some deeper production from David Porter down at the Malaco and Ardent Studios – which ensures that the deep soul component of the music still stays strong! The whole thing's unlike anything else we can think of – and is a definite bridge between 70s soul scenes at the time – echoes of folks like Al Green or Sam Dees, but a tighter approach at points too. Titles include "You, Trouble, & Me", "That's That", "The Key To My Life", and "Baby, Hold On To Me".

2 tracks from the early days of the Hotlanta sound. "Claim Jumpin'" is a bit more uptempo, and was written by Sam Dees.

The first album from Thelma Jones – and a real standout set from mid 70s Columbia! The record is a sweet blend of southern and modern soul, with some fantastic arrangements by Bert DeCoteaux, who also produced the set in a wonderful way that lets Jones retain the deeper qualities of her vocals, but also glide nicely on some warmer modern touches. There's a really unified feel to the whole record, and tracks are a range of work by 70s songwriting greats that include Sam Dees, Leon Ware, Grey & Hanks, and Gamble & Huff. Features the excellent single "How Long", plus "I Can Dream", "Salty Tears", "Stay Awhile With Me", "I'd Rather Leave While I'm In Love", and "Now That We Found Love". CD features 3 bonus tracks – "You're The Song That I Can't Stop Singing", "Love Look What You Got Me Into", and "I Second That Emotion (single version)".

A great one from Ben E King's "Supernatural" comeback years in the mid 70s – recorded at Sigma Sound with a really stellar approach on both the groovers and the mellow tunes! Ben's really letting his vocals open up on the set – going for that richness that was sometimes held back in the more uptown arrangements of the 60s, but which really flowers here in a fuller, richer, smooth soul mode. Arrangements are by Norman Harris, Bert De Coteaux, Ron Kersey, and Ron Baker – and the album's a great example of how the Sigma approach could take a great singer and make them even better! Titles include the Sam Dees tracks "I Betcha Didn't Know That", "Standing In The Wings Of Heartache", "No Danger Ahead", and "Tower Of Strength" – plus a great cover of Ashford & Simpson's "I Had A Love", and the cuts "Smooth Sailing", "We Got Love", and "Everybody Plays The Fool".

A brilliant 70s comeback for Ben E King – a record that shows the world that his vocals are still some of the best in soul, long after his early hits – and a massively mature effort that also grooves like a mofo! King's style here is completely different than before – rich, full, and a bit clubby in parts – perfectly put together by maestro Bert DeCoteaux with a smooth-stepping groove that draws a lot from the best Philly work of the 70s – a surprisingly great fit for Ben's wonderful vocals. Gwen Guthrie co-wrote a number of the cuts on the record, too – and also sings a bit of backup – and titles include the seminal "Supernatural Thing", a perennial dancefloor fave that's offered up here in 2 parts – plus "Your Lovin Ain't Good Enough", "Do It In The Name Of Love", "Imagination", "Do You Wanna Do A Thing", and "What Do You Want Me To Do" – and a great version of Sam Dees' "Extra Extra".

A classic set of smooth 70s soul from an under-recognized genius! Phillip Mitchell is a bit like his Atlantic Records contemporary Sam Dees – in that he wrote a lot of material for other singers, recorded a handful of singles, and worked mostly in the southern scene – but he also had a sophisticated, modern style that sounded a lot more like work coming out of New York, Philly, or Chicago. This lost album for Atlantic is a great example of that fact – as it was recorded at Muscle Shoals, but also features some Philly elements too – creating a great mix of modes that's wonderfully unique! There's a feel here that's just like some of the best work from Leroy Hutson, Johnny Bristol, or Leon Ware at the same time – a majestic, mature approach to soul that's simply tremendous. Titles include "In Between Lovers", "Top Of The Line", "I'm So Happy", "Let's Get Wet", "Paying The Price", and "If It Ain't Love It'll Go Away". Also features the bonus track "Take Me Away".

A brilliant collection of work from this overlooked Chicago soul singer – a set that brings together his whole 1974 album for Dakar, plus bonus singles from his late 70s years at Chi-Sound Records! First up is the sublime I Enjoy Loving You – one of a rare few albums cut by Sidney Joe Qualls – a fantastic 70s soul talent who's probably better known for his work behind the scenes, and as a songwriter, than he is as a voice on his own. The session is produced with a style that kind of mixes Brunswick Chicago soul with rootsier southern elements – stepping proud in the 70s territory of Johnnie Taylor or Tyrone Davis, but sounding way way better here, and with a much more independent vibe. Plus, the album boasts some incredible material – original tunes written by the likes of Sam Dees, Clifford Davis, George Davis, and others. Titles include "Shut Your Mouth", "Run To Me", "I Enjoy Loving You", "Please Help Me", "Can't Get Enough of Your Love", and "The Next Time I Fall in Love". CD then features 5 more bonus tracks from his 1979 studio work with Carl Davis' Chi-Sound label – tracks that include "I'll Run To Your Side", "Let The Woman Know", "So Sexy", "Good Ol Funky Music", and the classic "I Don't Do This To Every Girl I Meet".

Great work from the wonderful Rockie Robbins – a smooth soul singer who cut some great sides at the start of the 80s, but who hardly ever gets his due! Bobby Martin's working with Rockie on this effort – giving the set that warmly gliding mode that made Martin's productions some of the best in late 70s mainstream soul – a sound that's clearly informed by Philly, but which also has room for mellower, and more sophisticated modes as well. Tracks include a number of Sam Dees compositions – "Hang Tough", "After Loving You", "Girl I'm Gonna Get Ya", and "For The Sake Of A Memory" – plus the tracks "Together", "Point Of View", "Lost In Love Again", and "I Never Knew".

One of THE disco hits of the 70s – a set that spawned not only a huge hit single for Anita Ward, but which also firmly pushed the Miami scene over the top! The record's a wonderful mix of modes – served up with stone southern soul production from Frederick Knight, but also given plenty of disco touches from arranger Mike Lewis – who famously works in strings and keyboards in ways that really help the vocals soar! The mellower numbers are a great reminder that Anita's way more than just the usual club diva – a singer able to make things work strongly on a ballad front as well – and some of the best tracks here are penned by Sam Dees, who brings a level of songwriting that you normally wouldn't find on a disco record. Titles include the hit "Ring My Bell" – plus "If I Could Feel That Old Feeling Again", "Sweet Splendor", "You Lied", "Make Believe Lovers", and "I Won't Stop Loving You".

One of THE disco hits of the 70s – a set that spawned not only a huge hit single for Anita Ward, but which also firmly pushed the Miami scene over the top! The record's a wonderful mix of modes – served up with stone southern soul production from Frederick Knight, but also given plenty of disco touches from arranger Mike Lewis – who famously works in strings and keyboards in ways that really help the vocals soar! The mellower numbers are a great reminder that Anita's way more than just the usual club diva – a singer able to make things work strongly on a ballad front as well – and some of the best tracks here are penned by Sam Dees, who brings a level of songwriting that you normally wouldn't find on a disco record. Titles include the hit "Ring My Bell" – plus "If I Could Feel That Old Feeling Again", "Sweet Splendor", "You Lied", "Make Believe Lovers", and "I Won't Stop Loving You". CD also features bonus tracks "Ring My Bell (single)" and "Make Believe Lovers (single)". (Note – song order is reversed on the CD – side two of the record comes before side one – but everything else is great, and this is only a minor flaw.)

A great compilation of rare soul from the dual vaults of Nashville's SSS International and NYC's GSF Records – a north-meets-south collection of brilliant late 60s to mid 70s soul put together by Outta Sight UK! Both labels released a pretty diverse mix of soul styles – from gritty and funk tinged, to sweeter and more soaringly orchestrated – and the set includes incredible stuff from some of our all time favorite acts from the period overlooked by the mainstream, as well as stuff that's was heretofore unheard by our deep digging selves! 20 tracks in all: "Lonely For You Baby" by Sam Dees, "Help Is On The Way" by Van McCoy, "Baby You Got Me" by Clarence Murray, "Give Him Up" by The Whatnauts, "Love Me" by Lloyd Price, "My Hang Up Is You" by Skull Snaps, "I Got The Place If You've Got The Time" by Allison, "Do I (Love You Like You Like It)" by Jackie Ross, "I'm Your Pimp" by Skull Snaps, "Lonely Man" by Johnny Soul and more.

A treasure trove of deep soul – featuring rare and unissued tracks by some of our favorite artists of the genre! The set goes way way past the usual collections of southern soul – to bring together obscure singles, album tracks, and rare vault material – going past the obvious mainstream of Memphis and Muscle Shoals, to include some totally incredible material! There's a very sophisticated vibe here overall – almost heading towards the mellow soul of the 70s north, but still recorded with an earthier quality that's steeped in traditions borrowed from gospel, and infused with the best that the secular south had to offer. An impeccable set throughout – as pleasing to any collector of rare soul as it is to a newcomer – with tracks that include "Warm Loving Man" by Carolyn Faye, "Two Wrongs Don't Make It Right" by Patterson Twins, "Troubled Waters" by Sam Dees, "If You See That Girl Of Mine" by Hank Sample, "The Town I Live In" by McKinley Mitchell, "When A Man Cries" by Joe Wilson, "A Quitter Never Wins" by Jimmy Dobbins, "Why Oh Why" by J Count Hughes, "I Won't Be The Last To Cry" by Eddie Houston, "Bluer Than Blue" by Ruby Wilson, and "I Believe In Love" by Billy Cee. 23 tracks in all – with great production and excellent notes!

Two great slices of work from vocalist Thelma Jones – her late 60s singles for the indie Barry label, and her tighter work for Columbia recorded nearly a full decade later! The first half of the set has Jones hitting hard in a tight Northern Soul mode – a socking 60s approach to the groove that's got echoes of deep soul on the vocals, but which also often bumps along with a tight sense of rhythm on the bottom – sometimes even a bit of funk as well! Titles from these years include Jones' excellent original take on "House That Jack Built" – a tight funky version that's way better than Aretha Franklin's – plus the cuts "Stronger", "Never Leave Me", "Gotta Find A Way", "I Won't Give Up My Man", "Mr Fix It", and "Give It To Me Straight". The second half of the set features material from Jones self-titled 1978 album for Columbia – a sweet blend of southern and modern soul, with some fantastic arrangements by Bert DeCoteaux, who also produced the set in a wonderful way that lets Jones retain the deeper qualities of her vocals, but also glide nicely on some warmer modern touches. There's a really unified feel to the whole record, and tracks are a range of work by 70s songwriting greats that include Sam Dees, Leon Ware, Grey & Hanks, and Gamble & Huff. Features the excellent single "How Long", plus "I Can Dream", "Salty Tears", "Stay Awhile With Me", "I'd Rather Leave While I'm In Love", and "Now That We Found Love". 22 tracks in all – and a long-overdue collection!

A lost soul treasure from the 70s – and a rare secular album recorded by gospel singer Dottie Peoples! The set's got a stunning deep soul feel – easily right up there with the best 70s work from the Malaco and Muscle Shoals scenes – with a pure and top-shelf approach to the material that stands tall throughout the entire session. Dottie's vocals are tremendous – influenced by her gospel work, but with an easygoing style that's never too overdone, and which has the same mix of modern and southern that we love in work from the time by Jimmy Lewis or Sam Dees. The album's never been issued before, and the original 1978 tapes have been lovingly remastered with beautiful sound. Titles include "Look Around", "Imagine Me", "A House Made Of Love", "Very Strong Affection", "I Don't Want Nobody", and "Bring It Over Baby".

An incredible album from Tavares – every bit as great on the uptempo end, as you'd expect from their bigger hits, as it is on the sweeter ballad tracks – which step out here as a tremendous surprise! The set was crafted with help from Philly maestro Bobby Martin – and begins with a groove that certainly shows Martin in all of his Sigma-inspired glory – but as the set moves on, it glides into some sweeter, gentler tracks that come across with a mighty mellow soul approach! The set features 3 stellar tracks written by the great Sam Dees – "Games, Games", "Let Me Heal The Bruises", and "My Love Calls" – all of which show a strong deeper soul side of the group. Other tracks are great, too – and include "I'm Back For More", Never Had A Love Like This Before", "Straight From Your Heart", "One Telephone Call Away", and "Positive Forces". 3 bonus tracks: "Never Had A Love Like This Before (US Capitol 12" Single" – and the great instrumental version for that – plus ""Straight From Your Heart (US Capitol 7" Single)".

Massive music from the Northern Soul years of the 60s – American tunes that played heavily on British dancefloors – and went on to fuel the all-night energy of the scene! The sound is upbeat soul throughout – killer tracks from Detroit, Chicago, New York, and other US locales – most of which were overlooked at the time by most US audiences, but discovered and brought to life overseas. This massive 2CD package brings together two classic Charly Records compilations dedicated to the glory days of the scene – put together by collectors who really know their grooves, and expanded here with lots of bonus tracks that weren't on the original versions! There's a whopping 56 tracks in the set, packaged in a hardcover book-style cover, with great color notes and images in the middle – and titles that include "Sweet & Easy" by Van McCoy, "You're Gonna Need Me" by Ted Ford, "Why Don't You Write" by Lee Bates, "But I Couldn't" by Willie Harper, "Touch Me Hold Me Kiss Me" by The Inspirations, "That Other Place" by Wade Flemons, "Come On Train" by Don Thomas, "Lonely For You Baby" by Sam Dees, "Omar Khayyam" by The Rubaiyats, "I Can't See Your Love" by The Ballads, "So Blue" by Joe Murphy, "Gonna Take A Journey" by Barrett Strong, "Shake Off That Dream" by Eddie Billups, "Just Like The Weather" by Nolan Chance, "Mr Bang Bang Man" by Little Hank, "Young Man Old Man" by The Stokes, "Halos For The Angels" by Blanch Carter, and "Momma's Gone" by Little Johnny Blair.

Modern southern soul from CL Blast – a singer who took his music into great new territory during the time covered on this set! CL was a vocalist with roots in much bluesier modes, but at the end of the 70s, working with producer Frederick Knight, he really hit his stride in hipper, more contemporary styles – using an approach that was a bit like the updated Johnnie Taylor sound over at Columbia, but still somewhat more southern overall! There's a mix of Miami and Malaco vibes going on here – the tightness of the former but without the too-contemporary styles of the latter – and although Knight's production (plus a bit of help from Sam Dees) really sets the tone of the tunes, it's Blast's vocals that send the whole thing home. CD features 20 tracks in all, plus great notes on the music – with titles that include "Don't Fight The Feelin", "Beautiful Lover", "I Wanna Get Down", "50/50 Love", "Boomerang Love", "Let Me Entertain You", "Drown In My Own Tears", "I've Got To Make It On My Own", "If I Had Loved You More", "Share You Love With Me", and "Lay Another Log On The Fire".

A brilliant little compilation – despite the title – one that showcases some of the best work from the legendary Jackson scene of the 70s! As the Memphis and Muscle Shoals scenes were beginning to slow down after years of great soul records in the 60s, Jackson, Mississippi picked up the slack – thanks to the mighty might Malaco Studios! And while the Malaco name later became more associated with the label of the same name – and put out some great blues and soul albums in the 80s – back in the early years, the studio was more of an overall crossroads for many different styles of southern soul, and opened its gates to loads of excellent talent that wasn't getting recorded elsewhere. The depth of the set will really surprise you, as there's some tracks that have a straighter southern soul, but others with styles that are a bit more modern, sophisticated, and at times, even sound a bit like work coming out from east coast indie labels of the period. The set's got 21 tracks in all – filled with sublime work that represents some of the best of the indie scene of the south at the time, most of which you've probably never heard before, plus a few more modern numbers that are equally great! Titles include "Don't Matter To Me" by Billy Cee, "Calling For Your Love" by The Enticers, "All The Way In Love With You" by Ray Crumley, "Standing In The Wings Of A Heartache" by Ted Taylor, "I'm Gonna Love You More" by Richard Caiton, "Foot Loose & Fancy Free" by Carolyn Hudson, "Last Minute Plans" by Chuck Brooks, "Get Some Understanding" by Patrick Green, "When We Touch" by Floyd Taylor, "Kiss & Tell" by Stan Mosley, and "What Do We Have To Lose" by Sam Dees.

Beautiful beautiful work from The Chi-Lites – and a record that we might even say tops the best of their late Brunswick book! Despite the move from that label to Mercury, the group have a sound here that's still wonderfully fragile and harmony-focused – especially on the mellower cuts, which crackle with a sense of humanity that so many other harmony groups were losing at the time. But even the more upbeat tunes are great too – rolling along on some spacious arrangements by Tom Tom Washington, and showing that Chicago could come up with grooves to rival the sound of Philly! Titles include the great ballad "Love Can Be Hazardous", the Sam Dees number "Vanishing Love", and the titles "Don't Blame The World", "Message To The World", "Let Your Love Fall Like Rain", and "I Turn Away".

One of those records that no home should be without – not only a pivotal album in the growth of bossa nova in the 60s – but a set that also really helped set the career of tenorist Stan Getz on fire! The real credit here might almost go to guitarist Charlie Byrd – as Byrd was a big early proponent of bossa nova rhythms, and had already been experimenting with them on his records of the time – yet also gets a key extra "umph" here in the presence of Stan's tenor – a bold, rich, soulful sound that really helps give the music a lot of direction – in ways that still resonate strongly all these many years later! Getz is completely sublime – a master of tone and timing throughout – and perfectly fit to these tunes. Rhythms are mostly from Byrd's trio, augmented with some extra percussion – and titles include the classic "Desafinado", plus "E Luxo So", "Samba Dees Days", "Samba Triste", "O Pato", "Samba De Uma Nota So", and "Baia". This is the Verve master edition with 20-bit remastering, bonus track, new liner notes, photographs, cover art & more.

A pair of bossa classics – back to back on a single CD! The first Jazz Samba set is one of those records that no home should be without – not only a pivotal album in the growth of bossa nova in the 60s – but a set that also really helped set the career of tenorist Stan Getz on fire! The real credit here might almost go to guitarist Charlie Byrd – as Byrd was a big early proponent of bossa nova rhythms, and had already been experimenting with them on his records of the time – yet also gets a key extra "umph" here in the presence of Stan's tenor – a bold, rich, soulful sound that really helps give the music a lot of direction – in ways that still resonate strongly all these many years later! Getz is completely sublime – a master of tone and timing throughout – and perfectly fit to these tunes. Rhythms are mostly from Byrd's trio, augmented with some extra percussion – and titles include the classic "Desafinado", plus "E Luxo So", "Samba Dees Days", "Samba Triste", "O Pato", "Samba De Uma Nota So", and "Baia". Jazz Samba Encore is hardly an "encore" of the first Stan Getz Jazz Samba album – as this set's got a slightly different feel, and lots of great elements that make it really unique! This time around, Brazilian musician Luiz Bonfa is on guitar – already a skilled proponent of the bossa by the time of the record, and arguably one of the few who really got it going back home in Rio. Stan's tenor sounds wonderful – as carefully and soufully blown as on the first set, but also with some new colors and tones too. Bonfa's wife Maria Toledo sings a bit on the record – hinting at Stan's work to come with Astrud Gilberto (this album was cut right before the Getz/Gilberto collaboration) – and the record also features added work on piano and guitar from the great Antonio Carlos Jobim – more than enough proof that the album's got a pure bossa pedigree! Titles include "Menina Flor", "Ebony Samba", "Saudade Vem Correndo", "Sambalero", "Samba De Duas Notas", and "Mania De Maria".

An amazing version of this one – the core soundtrack really expanded with a lot of extra from the film, not just the record – and presented here as a 2CD set with loads of extra source music, alternate takes, and cues as well! The core version of Happy Ending is a real slice of genius from Michel Legrand – one of his brilliant late 60s soundtracks, not as well remembered as, but cut during the same period as The Thomas Crown Affair. The soundtrack is probably best remembered for the incredible theme "What Are You Doing The Rest Of Your Life" – sung here in 2 versions by Michael Dees, and also served up in a nice instrumental take as well. But overall, the whole record is pretty darn great – not as out and out groovy as some of Legrand's other work, but with a great mix of moody, jazzy, and atmospheric – handled with some really great instrumental touches that are all Legrand, all the way! Titles include "Smooth Sailing", "Collage", "Diamonds Are Forever", "Floating Time", "Hurry Up N Hurry Down", and "Whistle While You Swing". 2CD version features all the material unearthed for that very limited MGM box set a few years ago, a total of 48 tracks in all – with other gems that include "Soft Sell", "Till Death Do Us Part/That Trapped Feeling", "Bahama Blues", "The Stripper", "Reconciliation", and "It Ought To Be Forever".

A massively expanded version of the original Sehorn's Soul Farm compilation – one that adds in a huge amount of bonus tracks, and makes for an even more essential batch of New Orleans soul! The cuts here all come from the original Sansu empire formed by Marshall Sehorn and Allen Toussaint – a key force in New Orleans soul of the 60s – thanks to Toussaint's amazing ear for new talent, and bold new styles of production in the studio! Toussaint went onto much greater fame on bigger labels in the 70s, but his work here is still his best – a hard-edged, uniquely rhythmic groove that forever changed the sound of soul in the Crescent City. The 2CD set brings together material that appeared on both original Sehorn's Soul Farm collections in the 80s – mostly culled from labels like Sansu and Deesu, plus bits from other sources – and it also adds in 18 more bonus cuts too, which makes for a whopping batch of 50 New Orleans soul classics. Cuts include "Sadie Mae" by Joe Haywood, "Did You Have Fun" by Willie West, "A Lady" by Warren Lee, "Chicken Strut" by The Meters, "Look Way Back" by Diamond Joe, "Man Of The Street" by Ironing Board Sam, "How To Pick A Winner" by Diamond Joe, "Lovely Woman" by Eldrige Holmes, "Hotcha Mama" by Ernie K Doe, "Mean Man" by Betty Harris, "Hercules" by Aaron Neville, "Sinner Girl" by Benny Spellman, "Blues Tears & Sorrow" by John Williams, and "Star Revue" by Warren Lee.